Messenger UKChina

3MESSENGER MESSENGER2 3
CONTENTS
THIS IS GREAT BRITAIN
IN CHINA
An INTERVIEW with the
BRITISH AMBASSADOR
TO CHINA BARBARA WOODWARD
P10 THE FOOD CRITIC
Tom Parker bowles
making Britain
sound better
P21 towards a china-brit flick
P24 shanghai mathematics
P25 EDINBURGH UNIVERSITY AND CHINA
P28 cultural exchange - the academic opinion
P18 china-Britain relationship
grows ever stronger
P23 training the next generation
icon: SHERLOCK HOLMES,
A BRITISH CHINESE OBSESSION
P31 interview: director-general UKti in China - dr. catherine raines
business through culture and culture through business
THIS IS
MY STORY
p9 BRITAIN SPEAKS CREATIViTY
UNTO CHINA
Creating culture through cinema
p3
p14
p8
p6
GREAT BRITISH CULTURE
p12 THE DESIGNER
Neville Brody
A BRITISH FAMILY’S HISTORY IN CHINA
THE CHINESE NAMING CAMPAIGN
As the first half of the UK-China
Year of Cultural Exchange comes to a
close, MESSENGER takes a look at the
impact that the event has had so far by
assessing the British activities in China
as well as the efforts of both sides to
improve cultural understanding. We
speak to the UK’s Ambassador to
China, Barbara Woodward, as well as
creative and business professionals, in-
cluding food critic Tom Parker Bowles,
graphic designer Neville Brody and
UKTI Director-General Dr. Catherine
Raines to assess British culture and its
footprint in China.
As Britain seeks to improve its re-
lations with one of the world’s most
important rising powers, this issue
of MESSENGER seeks to discover
the importance of culture in the ever
growing relationship. In the spheres of
popular culture, education and cinema,
it is clear to see that both British and
Chinese culture can complement one
another. We also look ahead to the
second half of the year, which will see
China export its vibrant culture to the
United Kingdom.
Editor’s Message
Editor-in-chief
Stuart Wiggin
p16
p26

5CHINA4 MESSENGER
F
or Chinese people who are fascinated
with British culture and vice versa,
2015 has so far been a year designed
to satisfy their cravings. Under-
pinned by both governments, the first ever
UK-China Year of Cultural Exchange has
showcased some of the finest and brightest
cultural gems in each country.
From the art exhibition of Michael Craig-Martin,
the godfather of British conceptual art; to the
stage plays performed by London’s Royal Court
Theatre, Chinese art lovers have had the chance
to greet an all-star lineup of British artists, de-
signers and leading entrepreneurs.
The 2015 UK-China Year of Cultural Exchange is
essentially an artistic extravaganza to strengthen
bilateral ties in the fields of arts and the cre-
ative industries. The program is made up of two
seasons: a UK season of culture in China, from
March until July; and a Chinese season in Britain
held in the second half of the year.
According to Andrew Key, Deputy Head of
Mission at the British Embassy in Beijing,
the project goes much further than deep-
ening the relationship between the two gov-
ernments; it also encourages individuals to
network with their peers.
“It’s about us and our respect for our admiration
and enjoyment of each other’s cultures. It’s also
about ideas. It’s about being open, being inspired
by each other’s cultures and about stretching the
boundaries of creativity by working together,
creating new partnerships between creative
people and creative organizations.”
Led by the British Council in China, the UK season aimed
to encapsulate the essence of British culture through a series
of contemporary installments in music, film, architecture,
theatre and literature. Chinese audiences have so far been
able to immerse themselves with some of the most adventur-
ous ideas in Britain, such as the exhibition of Heatherwick
Studio, the design practice that once adorned the UK pavil-
ion at the 2010 Shanghai World Expo.
However, the event has not only been confined to artistic
expressions. According to Nick Marchant, art director at the
British Council, the GREAT Festival of Creativity was no
doubt the highlight of the year. Unveiled by Prince William,
the Duke of Cambridge, at the launch of the Year of Cultural
Exchange, the event allowed Chinese enterprises to engage
with leading figures in British creative industry and provid-
ed a platform to explore the role of creativity in commercial
success over three days.
Marchant stresses that the components of the creative in-
dustry are vitally important to Britain’s economy, pointing
out that, “The British creative industry includes advertising,
architecture, craft, design, film, television, publishing, mu-
seums and galleries, technology and music industries. They
now wield five percent of UK income. About 2016, China
cultural industry will account for a very similar figure, as
one of the five pillars of growth.”
Instead of simply introducing British talents, collabora-
tive programs also occupy a significant proportion during
the UK season. For example, musicians from Wuhan and
Manchester joined forces to celebrate the two cities’ indus-
trial heritage; while the Royal Shakespeare Company began
translating Chinese plays into English.
Carma Elliot, director at the British Council, spoke of the
lasting effect an event such as the UK-China Year of Cul-
tural Exchange has on the national psyche, stating, “I think
what we want to capture is that it’s not just about us thinking
how wonderful our culture is. It is about where our cultures
connect and what we can do together. Because ultimately,
we are very complementary in that regard and we both have
such rich culture as well.”
And as Elliot states, 2015 is simply the start of deeper cul-
tural exchanges, adding that “this year is very significant for
us and for the next few years as well. We don’t just want to
do a big festival and then nothing next year.”
It is about where our
cultures connect and
what we can do
together.
4 5
UK - CHINA

6 7MESSENGER MESSENGER
INTERVIEW INTERVIEW
CRIENGLISH.com’s Liu Xiangwei speaks
to UK Ambassador to China, Barbara Jan-
et Woodward about the UK China Year of
Cultural Exchange, educational exchanges
between the two countries, football devel-
opment and the broader UK-China rela-
tionship in general.
You actually worked in China as a teacher
back in the 1980s, so what brought you here
at that time?
So I first came to China in 1986 and I came
after I graduated from university. I’d studied a
bit of Chinese and I wanted to come and learn
more about China and take the opportunity to improve
my Chinese. And I also had the opportunity to teach
English at the time.
What was your first impression of the country?
My first impression of China was that it was very busy, I think.
I remember that time I flew in to Hong Kong and I took the
train to Guangzhou. My colleague from Hubei University was
due to meet me at Guangzhou Railway Station and there was
no particular meeting point. There were lots of people every-
where, lots of luggage everywhere. So I just sat on my suitcase
and waited for my colleague to come. And he eventually found
me. And I thought so much activity and business because, of
course, China had just started reform and opening up at that
time. So that was very exciting. And I think still the impor-
tance of education. All of my students were very diligent, very
hard-working even though they had suffered a lot of hardship
to get to university. They were very committed to studying hard
and making progress and using their studies to get a good job.
So those were my two big impressions then.
Last year when Premier Li Keqiang
visited the UK he signed a joint state-
ment with UK Prime Minister David
Cameron, marking 2015 as the year
of cultural exchange between our
two countries. How do you think the
year-long program has benefitted our
two countries and what will be the
highlight of the program?
We were delighted, of course, that
Premier Li Keqiang visited Lon-
don last year. And we had a very
wide-ranging discussion between him
and Prime Minister David Cameron.
And the signing of the agreement on
having a year of cultural exchange
was a really important part of that. So
broadly we’ve agreed that in the first
half of the year we will have a series
of UK activities here in China; and
in the second half of the year we’ll
have some Chinese-led activities in
the UK. We, in the UK, have been
focusing very much on innovation
and creativity in our culture.
I think many Chinese people are
already very well aware of some of the
historical aspects of our culture. So
they know about Shakespeare, they
know about Dickens, and so on. But
we wanted to take the opportunity to
introduce some of our cutting-edge,
creative and innovative culture. For
example, we have a music program called Music on
the Go. And if people download the app, they can
get access to some of our top music and even win
a free trip to a UK music festival in the UK during
the summer; and that’s available throughout China.
I’m very excited that Thomas Heatherwick, who
is quite famous in China because in 2009 he
designed the UK Pavilion for the Shanghai Expo
the following year, and then went on to design the
centrepiece of our Olympic opening ceremony; he’s
going to be opening a design studio and an exhi-
bition here in China as part of our year of culture.
And then, of course, we are showing some modern
British films. So we have the film of Shaun the
Sheep, which will be launching late this summer,
and the new James Bond film Spectre, which will
launch later this summer. And we’ve just launched
a film called Kingsmen, staring Collin Firth here in
China. So we are doing some modern films, some
modern music, and some modern design, all as
part of our year of culture.
Britain has become the most popular European
destination for Chinese students of higher edu-
cation. What would you do to encourage educa-
tional exchanges between our two countries?
Well, you’re right. I’m very passionate about the
educational exchanges because that was the orig-
inal reason that brought me to China. And we
are delighted that we have over 130,000 Chinese
students studying in the UK at the moment. We
want to encourage students to study more in the
UK, and I’ve spoken to several British universi-
ties about how we can approach that, including
how we can streamline the process for getting a
student visa, which I think is an important part
of the process.
We’ve also got a number of universities here in
China which have educational exchanges with
British universities, and even some which
have their own campuses here so that Chinese
students can study physically here in China
but then they end up with a degree from a
British university. And I think that’s a very
important development because fundamental-
ly the most important thing about our educa-
tion is that we equip young people for life, and
careers and service in the twenty-first century.
And I don’t think any one country yet has a
monopoly on that, but when we bring our two
systems together, the very best of those two
systems allow us to support young people as
they train for the future. So I think this is all
developing very positively.
China is trying hard to give opportunities to children to
help them grow as football players and to cultivate football
culture. How do you think our two countries can cooperate
in this field and do you think your country can offer techni-
cal assistance?
Well, we are delighted to see this because China obviously
has great potential in football, and I know that the Chinese
team did very well recently in the AFC Asian Cup. And I
know the ambition is to get to the World Cup at some point.
So we’re very pleased to be involved in this process with
China, and we’ve got a program which we call “Premier
Skills” where we are training football coaches in order for
them to go on and train some of the young, aspiring Chinese
footballers. And I think it is very important for education
that young people learn not just academic skills but also
skills that allow them to operate in teams, to show leader-
ship, to learn how to live with challenges and defeat. And it
allows them, I think, different children, to flourish and show
their talents when they are asked to do something on the
football pitch than when they are in their classrooms. So I
think it’s a very important way of rounding out and making
much deeper the roots of a young person’s development.
During his meeting with Prince William, Chinese President
Xi Jinping said he will visit the UK by the end of the year.
Can you tell us what we can expect from this visit?
We’re delighted that President Xi Jinping has accepted the
invitation from her majesty the Queen, Queen Elizabeth, to
pay a state visit to the United Kingdom. It’s something that
happens maybe once every ten years for the UK-China rela-
tionship. So we want to make this a really very successful visit
by President Xi Jinping. We want to use it to showcase the
strength and depth of the cooperation between our two coun-
tries. And we want to use it to show, too, a new level of ambi-
tion, as we approach together the challenges of the twen-
ty-first century, both of our partnership on the UN Security
Council, our partnership in trade, the challenges we face
around climate change, around wider global development, as
well as the commitment we are making to the next generation of
young people. So I think it will be a very exciting and a very
memorable state visit. And we are very much looking forward
to welcoming President Xi Jinping to the UK.
An Interview with
the Ambassador
When we bring our
two systems together, the
very best of those systems
allow us to support young
people as they train
for the future.

A
s a part of the GREAT Britain Cam-
paign, a GREAT Festival of Creativity
was held over three days in Shanghai
earlier in the year in March, 2015.
Showcasing a wide range of sectors, including
education, urban development and entertain-
ment, the three-day-event, seen as one of the de-
fining moments of the UK-China Year of Cultur-
al Exchange, not only promised to support UK
companies looking for growth in China, but also
provided a platform for Chinese entrepreneurs
to exchange ideas with their British counterparts.
SHOWCASING TALENT
From Jack Ma, the founder of China’s e-commerce
giant Alibaba, to Sir John Sorrell, the chairman of
the UK’s Creative Industries Federation, the event
attracted a high-level business audience from Brit-
ain, China and beyond. By showcasing some of the
brightest British talent and expertise in commercial
creativity, the GREAT Festival of Creativity tried to
secure opportunity for UK businesses to tap into
one of the world’s fastest growing economies.
The Duke of Cambridge, Prince William, deliv-
ered a speech at the opening ceremony, pointing
out, “This is my first visit in China. We’re less
than 24 hours into my first visit and a strong
sense of opportunity exists for collaboration and
partnership between our two countries. This
GREAT festival is a statement from the Unit-
ed Kingdom. We are excited about partnering
with China on creativity and innovation. It is a
message of partnership from the best of British
business, that we know the future successes of
our economies will be shared successes. “
SOARING TRADE
From fashion to healthcare, British delegates
from various sectors displayed some of the
most innovative ideas and cutting-edge tech-
nologies. But the festival was not just about
showcasing. According to official figures, the
bilateral trade of the two countries hit a record
high last year totalling more than 80 billion
US dollars, particularly in terms of transporta-
tion, energy and infrastructure.
By the end of 2014, Britain had already become
the top European nation for Chinese outbound
investment. But how to go about strengthening
the relationship and tackling the challenges
that exist still remain big concerns. In order to
answer those questions, panel discussions and
forums were held during the Creativity Festival.
Britain Speaks Creativity
unto China
Industry insiders and business leaders from both nations
exchanged ideas and contributed their opinions in global
strategies and the creative process.
DESIGN DIFFERENCES
Lin Yucheng, a Chinese representative of Prosen, an interna-
tional education group based in London explained that, “Like
the other Chinese panelists who have expanded their business
in the UK, I have encountered similar problems, such as cul-
tural and management differences. So I was curious about their
solutions and they gave me answers from a broad picture.”
According to Peng Chuyao, the manager of a local supercon-
ductor company, the festival shed light on a rather soft side
of the industry, since many Chinese creative enterprises have
already caught up with their foreign counterparts technolo-
gy-wise but have been less savvy in terms of marketing and
design. Peng explained that he attended the festival back in
March “to find future partners, customers and more updated
information. Since my company is research-based, I thought
the platform could provide some fresh ideas in digital market-
ing, design and cultural creativity. By combing the artistic and
scientific aspects of the business, I believe we could go further.”
CREATIVE INDUSTRIES AS AN
ECONOMIC PILLAR
There is also the belief that events like this, and those that have
been taking place over the past six months in China and for the
remainder of the year on British soil, will have a long-lasting
effect. Conrad Bird, director of the GREAT Britain Campaign
from the UK’s Prime Minister’s Office said of the GREAT
Festival of Creativity event that, as the highlight of the 2015
UK-China Year of Cultural Exchange, it could engage and
impact people from both countries for many years.
As Bird further elaborated, “Five percent of British GDP is
creative industries, 3.5 percent of Chinese GDP is creative
industries. There’s a huge amount of importance placed on
creative industries in the UK and China. Of course one of the
objectives is business. But I think it’s more about partnership
and it’s actually about two minds, two people coming together
and creating something new in whatever business or whatever
environment they are.”
...a strong sense of
opportunity exists
for collaboration and
partnership...
CULTURE CULTURE

GREAT BRITISH CULTURE
THE FOOD
T
he legendary writer J.R.R Tolkien once
said, “If more of us valued food and cheer
and song above hoarded gold, it would
be a merrier world.” His philosophy is
shared by many, including Tom Parker Bowles,
the award-winning British food writer and critic.
Bowles, a culinary superstar paid a visit to China
recently, a nation world-renowned for its food cul-
ture, in order to raise the profile of British cuisine
and highlight the fact that food is essentially a uni-
versal language and that Britain is keen on correct-
ing its food image problem within China.
IMAGE PROBLEM
When you talk about British food, people laugh
and say British food is the worst in the world;
it’s disgusting, it’s boring. In China, I’ve seen
websites devoted to the worst British food.
Britain lost its culinary identity a long time ago.
We moved from an agrarian, rural society to an
industrial society very quickly.
Then technology came along and we had two
World Wars, during which we had rationing. So,
we lost our passion for food and for the British, it
wasn’t right to talk about food and enjoy food. It
was “eat to live” not “live to eat”.
THE REALITY
For me, when you come to Britain, and you
come to London, you find not just some of the
best ingredients in the world; we’re a very small
island and we have a lot of rain. That means we
have lots of grass which makes for very good
cattle, which means we have butter, cheese and
milk. So we have fantastic raw produce. British
food is about simplicity. It’s a bit like Cantonese
(food) in that way; get the very, very best ingre-
dients and do very little to them.
IS BRITISH FOOD A JOKE?
When I speak to friends in China, you have Mr.
Bean and you have British food. British food is
like a comedy show isn’t it, because the Chinese
food culture is so strong, and because you’re lucky
enough to have grown up with this wonderful food
and this wonderful tradition that has been going
for hundreds and hundreds of years; again (British
food) is not a highly spiced food.
We don’t use a lot of seasonings perhaps like in any
region of China. It’s very difficult to sell it perhaps
to the Chinese. So, why aren’t there British restau-
rants in China? Number one, the perception of British food is
so poor. Number two, it’s about ingredients; the freshest ingre-
dients. We need to be able to start getting our best ingredients
into China. If you don’t have the best produce in China, we
can’t do British food.
We get the very, very
best ingredients
and do very little
to them.
OVERCOMING THE
STEREOTYPES & OBSTACLES
This is the thing we’ve got to get through. There are issues
with imports at the moment. We have to work together with
government; the British government, the Chinese govern-
ment, and start trying to get it. It will start at the top, as it
always does, at the expensive stores. I think it would be a
brave person who opens a British restaurant in China. But,
you know, who knows?
The first thing to do is with (Chinese) tourists, they have to
taste good British food and come back saying “it’s not a joke,
sometimes it’s ok,” to change that perception. Unless that
perception is changed, we won’t be able to get anything. Slowly,
slowly, start with tourists coming back over and also speaking
to the governments and beginning to get good produce in. It’s
going to be difficult, I’ll tell you that much. It’s just a question
of education, but I just wish that I could get to all those tourists
and get them to the right places; but I will in the end.
THE IMPORTANCE OF
FOOD CULTURE EXCHANGE
You’ve got to try. Food is a universal experience. You don’t have
to speak Mandarin or you don’t have to speak English to be
able to enjoy food. The universal symbols of smiling or rubbing
your stomach, I don’t speak Mandarin or Cantonese, yet I can
go to the street food (sellers) and say that’s good and smile.
That is the most fundamental thing.
The communication which is fundamental between human
beings of smiling, joy and enjoyment; that’s how we start. We
sit down and we break bread together, we eat rice together. We
talk, we smile - that’s where it starts; at the table. All communi-
cation starts at the table; family, happiness, friends, everything.
So if we can sit down together and share our food the best,
that’s a start.Photo: Tom Eversley
isorepublic.com
FOOD FOOD

Y
ou may not know who Neville Brody is,
but you might recognise the typefaces
he designs that appear on numerous
adverts, magazines, and even the shirts
worn by the England national football team. Cre-
ating some of the world’s most popular fonts, this
British designer has set the typographic principle
that is followed by many magazines around the
world today. He recently journeyed to China to
offer his take on innovative ideas.
CULTURAL DNA
Typeface design is a really interesting area that
has changed so much. When I started studying,
it was not so easy to access the ability to design
a typeface. Typefaces were designed in metal; it
would take many, many years of practice; kind of
almost like being a monk. You had to go through
a long process to get things printed. But then
with a computer, for a period of time, it was a bit
like designers making typefaces like musicians
making pop music.
A society’s culture is embedded in their
language. Language is a contract where two
parties or more have agreed that certain ele-
ments, when they put them in a certain order,
mean certain things. But actually, they could
be any elements at all that you could combine
to make stuff. So, we treat typography as a
type of music. For me, it’s always been a way of
bringing in a cultural DNA.
THE CREATIVE PROCESS
This (type of) design is quite strategic. It has
to work for somebody, or work for a project,
or work for a problem, or work for an envi-
ronment. So, you have to do a lot of research
to begin with. And then there’s a creative part,
where maybe you’re doing some experiment-
ing, a bit like jazz music. So, you have a system
and you can improvise within that. That part,
the creative improvisation; that’s most im-
portant. And then of course, because graphic
design has a client usually, if the client likes it
that’s even better.
For the Times Newspaper we did all of their
headline typefaces under new masthead. And
that was much more about making something
work properly, because they went from a big size
to a small size, so the character needed to be
narrower so they could fit more words on a page.
And because the paper was bad quality, it had to be very
high contrast type, so it would look sharp. And then it had
to be somehow traditional, because the Times is the world’s
oldest newspaper, and somehow also modern and then it
would work on their website. So, it had to do a lot of things.
DEMAND FOR TYPEFACE
DESIGN
These days, brands work less about what the logo looks
like. Brands are much more about storytelling; it’s actual-
ly much more about how that brand communicates now.
The images are just a transient part of that, but what is
consistent always is the typeface that they use.
As a designer, that typeface says a lot; it communicates
a lot. It could be very formal, or it could be very friend-
ly and warm or childish, or it could be professional. So
these typefaces give a voice to the words before you’ve
even read the words.
ADVICE FOR CHINA’S
YOUNG DESIGNERS
I think (young designers) should trust themselves and they
should trust their own creative intuition. And they need to
make sure that they do a lot of research as well, but always take
risks, I think. There’s no point in just being professional.
(Young designers)
should trust themselves
and they should trust
their own creative
intuition...
Always take risks.
There’s no point in just
being professional.
DESIGN DESIGN

A
t the tail end of last year, as part of
the GREAT China Welcome project
launched by VisitBritain, the “GREAT
Chinese Names for GREAT Britain”
campaign was launched in Beijing. This marked
the beginning of Britain’s largest ever tourism
campaign in China.
The goal was to let Chinese people come up
with names for 101 specific British places,
events, food and literature, in an effort not
only to promote Britain’s image but also to
produce a series of Chinese names that would
resonate among Chinese speakers and tourists
interested in the country.
With the aims of attracting more Chinese
tourists to Britain and making Britain the most
welcoming destination in Europe for Chinese
visitors, it is clear that the chase for Chinese
tourists and the cash that they bring with them is
an important contest, with VisitBritain announc-
ing in February that 2014 was a record year for
both inbound visits and spend.
Patricia Yates, the Director of Strategy and
Communications for VistiBritain pointed out
that this year’s naming campaign “(took) its
inspiration from the Chinese love of giving
Chinese names to places.” But the organisers
of the campaign were keen not to limit the
activity to those cities that many Chinese
people are already familiar with. The naming
campaign chose a host of locations spanning
the entire United Kingdom, including many
beautiful small towns and villages.
Patricia Yates pointed out, “I think what we’re
seeing from the Chinese market is that maturing
of the market very quickly. So for the first visit
to come and see London, what a great global city
that is; but now Chinese visitors spend much
longer (in Britain) than some of the visitors from
other markets. So this is an opportunity to show
all the experiences there are around the rest of
the country and show them the hidden gems and
those less known places.”
In an effort to attract more Chinese visitors to the
UK, many British tourism agencies have provided
customised services for Chinese tourists. In addi-
tion, the British government is also working on of-
fering convenient visa policies. Dominique Hardy,
the regional manager of UK Visas and Immigration
in China and North Korea, notes that the govern-
ment has been working hard in relation to the issue
of visas for Chinese visitors.
“We’ve listened to our customers and responded with a
range of options,” Hardy points out. “For instance, we’ve
introduced the 3-to-5-day priority visa service, and most
recently, in August (of 2014), the 24 hour super priority visa.
We already offer long-term multiple entry visas. In addi-
tion to our standard service, we offer one-year, two-year,
five-year to ten-year multi-entry visas. One of the newest
policies here in China is the introduction of the British-Irish
visa scheme. If you apply for a UK visa, then you can travel
not only to Scotland, Wales, England, Northern Ireland, but
you can also go to the Republic of Ireland on the same visa.”
After the campaign came to a conclusion in March, Vis-
itBritain revealed that the activity reached 300 million
potential Chinese tourists via the national tourism agency’s
influential Weibo and WeChat social media platforms in
China. Furthermore, the event yielded 13,000 new names for
consideration, suggested throughout a ten-week period at
the start of the year.
This is arguably an outstanding achievement utilising a sim-
ple idea that has resonated with Chinese audiences, proving
to be a very useful method for promoting Great Britain as a
tourist destination. According to VisitBritain, all 101 points
of interest have now been given their three most popular
Chinese names and the organisation will work together with
the attractions to decide which name to go for and how they
might use the results.Photo: Tom Eversley
isorepublic.com
Popular Suggestions:
The Welsh village of
LLANFAIRPWLLGWYNGYLLGOGERYCHWYRN-
DROBWLLLLANTYSILIOGOGOGOCH
建肺村永
(lit: Strong Lung Village)
HADRIAN’S WALL
恒之脊
(lit: The Eternal Ridge)
THE SHARD
尚得乐塔
(lit: Alluring and Joyful Pagoda)
Source: www.greatnames.visitbritain.com
CULTURE CULTURE

C
hina and Britain established formal
diplomatic relations in 1972 but the
affinity between the two nations can be
traced back several centuries. China,
due to its vast landscapes, ethnically diverse pop-
ulation and venerable culture, has enraptured
countless foreigners.
In the eyes of American photojournalist Tom Carter,
living in this eastern land is “an endless scroll of expe-
riences”. Yet for British novelist, speaker and business-
man Adam Williams, China has a more profound
connotation. Williams’ family has lived and worked in
China from the late Nineteenth Century and a great
part of his family history has already intertwined with
the evolution of modern China.
As Williams explains, “I come from a family which
has lived in China since the 1890s. Two sets of
great grandfathers came out about the same time.
One was a medical missionary, the other one was
a railway engineer. I was born in Hong Kong, my
mother was born in Qinhuangdao, her mother was
born in Changchun and my great grandfather was
born in Beijing! So we have a long China pedigree.”
From the Boxer Rebellion and the warlord era to
the birth of the Chinese Communist Party and the
Japanese invasion, this expatriate family lived through
China’s key incidents and their experiences mirrored
the crucible of the country’s recent history.
Talking more about his ancestors, Williams notes, “They
were coming to China to provide very similar things to what
people like me would come to China to provide in the 1980s.
I mean they were bringing electricity, railways, new ideas
and all sorts of westernisation. This caused great friction in
many ways, whether it was manifested in the rejection of it,
or the adoption of it.”
Although the family left China during the Second
World War and later settled in the colonised Hong
Kong, the Chinese mainland was always a strong
presence throughout Williams’ childhood. As elders
told stories of Chinese warlords, such as Wu Peifu and
Zhang Zuolin, romantic imagery plus a slice of mystery
constituted the impression of China for a young Adam
Williams.
“When I was naughty as a little boy, my mother would tell
me, ‘You be good, or Zhang Zuolin will come to get you.’
I didn’t know who Zhang Zuolin was; I thought he was
a monster with big teeth. But I could tell you that I have
been scared of Zhang Zuolin all my life. “
Growing up with a deep understanding about Chinese
history and with encouragement from his father, Adam
Williams inevitably followed in his predecessors’ foot-
steps. In 1980, Williams joined the Sino-British Trade
Council, an organisation that promotes bilateral trade
and investment. Five years later, he ended up living in
Beijing and has been actively engaged with China-re-
lated business practices ever since.
“Sino-British trade now is better than it has ever
been,” Williams explained to CRI. “The amount
of bilateral trade, the amount of investment both
ways is innumerous. I think there is occasionally
political squabble, but it is like the storm on the
surface of the lake; underneath there’s actually a
very strong bond. I think there is great mutual
respect and friendship.”
In1999,aschairmanoftheBritishChamberofCom-
merceinChina,WilliamsreceivedanOrderofthe
BritishEmpirefromtheQueenduetohiscontribution
towardsthebilateraltradebetweentheUKandChina.
But his real passion doesn’t lie with commerce. From
1997 onwards, making full use of his spare time, this
successful businessman started to put pen to paper.
Inspired by his family heritage in China, his literary
debut “The Palace of Heavenly Pleasure,” set in north-
ern China in the late Nineteenth Century, went on to
become an international bestseller.
William’s second instalment in his China trilogy,
“The Emperor’s Bones” extensively examines
the turmoil of the country in the 1920s and has
sparked heated discussion among critics and
readers, since few Chinese writers have ever
examined this period of history so extensively.
Despite receiving overwhelming praise, this inter-
nationally acclaimed novelist remains indifferent to
the opinions of others who challenge his attempt to
write about Chinese history.
“People ask me about how could you write China as a foreigner
and I think, am I a foreigner? I have been here for four gener-
ations. You know, this is my world.” Now, living happily with
his wife and famous writer Hong Ying, and their daughter in
Beijing, the 62-year-old Williams still acts as a consultant to
help many British enterprises enter the Chinese market.
After thirty years of working in China, Williams says he is still
amazed by the fast growth of the reawakened nation and feels
lucky to live in such a dynamic country. “The privilege of being
in China for the last thirty years is extraordinary. China has
compressed what took Europe two hundred years to develop
into thirty years; whether culturally, whether socially, whether
agriculturally, whether industrially. “
As something of a China expert, Williams also adds that for
many British people, China remains an exotic place. At the
same time, there are still plenty of myths about Britain among
Chinese people. In terms of promoting mutual communication,
the road seems long, but with the help of cultural ambassa-
dors like Adam Williams alongside high-level events such as
the UK-China Year of Cultural Exchange, people from both
nations can come together and enhance their understanding.
THIS IS MY WORLD By Li Shiyu
The privilege of being
in China for the last 30
years is extraordinary.
China has compressed
what took Europe 200
years to develop
into 30 years.
Title image (top left):
Graphic adapted from a photograph taken in 1913 featuring British
medical missionary Dr. David Muir (man sitting) and his family on leave
from China. Muir practiced medicine in northeastern China from the
1890s and received a medal from the Qing Emperor for his contribution
of dealing with the plague. The girl standing, wearing white, was Muir’s
daughter and Adam Williams’ grandmother, Catherine.
A British Family History Mirrors the Upheavals of China
Adam Williams’ father Peter Williams, Chairman of the Royal Hong Kong
Jockey Club, with the Queen at the Jockey Club of Hong Kong.
(Photo provided by Adam Williams)
HISTORY HISTORY

B
ritish exports to China have grown
so strongly that the UK government
decided to appoint its first agriculture
and food counsellor in China to explore
more opportunities in the world’s second largest
economy. The Chinese demand for British milk,
pork, Yorkshire tea and salmon brought about
a 12-percent jump in food exports to China
last year. British pork producers are looking at
selling pig’s trotters to China, where the products
are popular and the market is massive.
This is just one aspect of the all-around rela-
tionship between China and the UK. The two
economies are complementary, with Britain en-
joying strength in the creative sector, technology
and financial management, and China boasting a
market soon to be the largest for almost every-
thing Britain produces.
There’s also strategic consideration on both sides
to build a long-term strong bilateral rela-
tionship. One example has been the UK taking
the lead in joining the China-initiated Asian
Infrastructure Investment Bank (AIIB) and thus
becoming the first major Western power endors-
ing the financial institution.
In explaining the decision to become a founding
member of the bank, British Chancellor George
Osborne said, “Joining the AIIB at the founding
stage will create an unrivalled opportunity for the
UK and Asia to invest and grow together.”
The British decision is wise on many accounts; it
will secure better opportunities to influence the
policies of the bank from inside rather than the
absurd theory of being an influencing force from
outside the bank. It will also beef up Britain’s
presence in Asia, where the world’s most dynamic
economies are located.
Tremendous goodwill has also been handed to the
UK on behalf of China. The fact that other Western
countries followed suit to join the bank reveals the
strategic wisdom of the UK in exploring a long-
term and future-oriented relationship with China.
The China-policy-making in London has roots in
the accurate understanding of today’s China. Prime
Minister David Cameron said last year that the
rise of China was “one of the defining events of our
century” and that Britain wanted to strengthen ties
on every level, from business to cultural under-
standing. Britain has traditionally excelled in con-
ducting its foreign policy in modern times either
by forging a special relationship with the United
States, or by embracing the rise of China.
CHINA BRITAIN
RELATIONSHIP GROWS
EVER STRONGER
By Xu Qinduo
Another extraordinary example has been the British openness
to investment from Huawei, the world’s second largest telecom
equipment maker. After being rejected by the United States
under the excuse of constituting a “national security threat”,
Huawei also experienced similar frustration in countries like
Australia and Canada, which simply followed Washington in
lock step.
But London stands out in welcoming Huawei’s investment to
flow into the British market. In response, Huawei worked close-
ly with the British government by setting up an independent
cyber security evaluation centre in Oxford in 2010 to check if
its equipment could pose a threat to national security.
The latest news is that Huawei has been given a clean bill when
a British government report concluded that the Chinese com-
pany does not present any threat to national security. If there’s
one thing to say about how Britain has won China’s respect,
it must be the UK’s independence in exercising its sovereign
decision-making power, a trait not seen in every country.
After the founding of the People’s Republic of China in October
1949, Britain recognised Beijing in January 1950 and then post-
ed a chargé d’affaires. At least two British delegations visited
Beijing that year.
Prime Minister Cameron was said to project the UK as the best
friend of China in the Western world. If that’s true, London
certainly matches its policies with actions. Late last year, the
UK government successfully issued a sovereign bond in RMB,
the Chinese currency, and thus became the first Western coun-
try to do so. The issuance signalled the RMB’s potential as a fu-
ture reserve currency. It also cemented Britain’s position as the
most important RMB market among the developed countries.
There is pragmatic consideration in both London and Beijing
for the sake of national interests. But what is more valuable is
the British way to engage with a rising power like China, which
is constructive and productive. That’s a sharp contrast to the
confrontational and sometimes combative approach adopted
by other countries.
The China-policy-making
in London has roots in the
accurate understanding of
today’s China.
OPINION OPINION
Illustration: Robert Wiggin

Towards a
China-Brit Flick
By Chloe Lyme
I
n recognition of China’s potential and
growing influence on the global enter-
tainment industry, countries around the
world have been holding Chinese film
festivals, often coinciding with the Beijing
International Film Festival, which took place
in Beijing during May, 2015. Unsurprising-
ly, Britain lived up to its creative heritage by
holding one such film festival during May - the
China International Film Festival London.
The China International Film Festival London has
been one of the most prestigious and far-reach-
ing overseas Chinese film events to date. The two
nations have come together to encourage attention
and support from international audiences by intro-
ducing Chinese films to the UK, with the hope of
motivating filmmakers from both sides to connect
and share their ideas.
Carma Elliot, the British Cultural and Education
Minister and Director of the British Council,
says the festival is a great way for filmmakers
from China and the UK to connect, adding that,
“It’s really important that people in the UK can
see what’s coming out from China and making
it more accessible; bringing it to London so
people can go along. And when it is part of a
film festival it gives it profile as well so it helps
directors and producers here, the industry here,
to connect into the UK.”
The London-based festival emphasises traditional Chinese cultural
elements within the industry’s communication practices. By intro-
ducing fresh Chinese movies to the UK, organisers of the China
International Film Festival London aim to show industry insiders
and audiences a new angle to filmmaking and story-telling.
Hong Kong director Peter Chan, whose latest work “Dearest”
received widespread attention and praise at last year’s event,
believes that festivals such as the one held in London are highly
beneficial for Chinese filmmakers.
China and the UK recently signed a co-production treaty, and
future China International London Film Festivals will give
filmmakers, both young and old, a chance to see that there is
now an accessible platform for production between the two
countries. The event is very much about the next generation
and making those connections for the future; borrowing from
the theme of the British activities in China as part of the UK
China Year of Cultural Exchange.
As for the environment at London-based festival, Chinese
actress Yan Bingyan told CRI that the festival, which is
currently in its third year, has a very young feel to it, adding
that she was surprised to see “so many young people work-
ing on such a magnificent film festival. The atmosphere was
very young, vigorous and fashionable.” But the real question
for those involved in the film industries of both respective
countries is how long is it likely to be until China and the
UK come together to make a feature film.
According to Amanda Nevill, CEO of the British Film Institute,
there are a few hurdles they need to jump, but she believes
that it won’t be long before the two countries produce a film
together. “We know that there are projects in the incubator,
but obviously this takes time,” Nevill explained, adding, “There
are also things like language to get round and understanding
cultures. The whole point of making a film together is making
it together, so you have to understand each other’s audiences,
but you know we are on our way.”
The whole point of making a film
together is making it together, so
you have to understand
each other’s audiences, but you
know we are on our way.
CINEMA CINEMA

Training the Next
Generation of
Film Talents in
the UK & China
By Li Shiyu
T
he British film industry is no doubt the
subject of admiration throughout the
cinematic world. While Chinese inter-
est in film suffered some bumpy days in
the past, the country has now overtaken Japan to
become the world’s second largest movie market,
behind the United States of America. However,
there are few intersections between British and
Chinese cinema. However, young film talents in
Britain and China will soon have the chance to
learn from some of the masters of cinema from
each respective nation.
Being coached by Academy-award winner Ed-
die Redmayne or learning tricks from Chinese
ink-wash animation masters may sound im-
plausible for newcomers in the film industry,
but the British Academy of Film and Televi-
sion Arts (BAFTA) has announced that it is no
longer a far-fetched dream for Chinese talents
and British nationals.
As part of the latest expansion of the Acade-
my’s global scholarship activity, it is expected
that from 2016, this leading British institu-
tion will enable people from both countries
in financial need to study film, television, or
game design as an international student in the
UK or the Chinese mainland respectively (The
scholarship program in Hong Kong has been
active since 2014).
In explaining why the academy chose to focus
specifically on China, Anne Morrison, Chair
of BAFTA said, “So much is happening in
China and beyond. We really want and need to
extend our reach to China, because it’s such a
fast-developing industry here. China is second
only to the United States in terms of box office
revenues. So it’s a huge, huge market. Increas-
ingly our members are looking to China as
they develop their art forms. So we thought
it’s a tremendous opportunity here to promote
creative collaboration between people in Chi-
na and in the UK.”
According to Tim Hunter, Director of Leaning and Events
at BAFTA, successful applicants not only receive financial
support for their tuition and living expenses, but more im-
portantly, they will be appointed a personal mentor from the
Academy’s large pool of distinguished members. As for what
the role of mentor entails, Hunter pointed out that, “A men-
tor is not only advising you on your study, on your career
direction. They also become a champion for you. They can
introduce you to their network and really show you how the
industry actually works.”
More than four hundred students have applied for the British
scheme so far, and even though only ten to twelve lucky ones
will be selected, Hunter says the enthusiasm remains high,
adding, “I think students nowadays are very aware that the
industries become more global. Being familiar with all the
aspects of China, being able to speak the language, being able
to understand how these industries work and what audiences
like and have a network with people having all those different
things really set you above other people. It’s very much open to
everyone. They can then become the ambassadors for the UK
industry in China and the Chinese industry in the UK.”
According to Anne Morrison, Chair of BAFTA, since the key
mission of the Academy is to identify, support and promote tal-
ents; the scholarship scheme in China is merely the beginning.
As the Year of UK-China Cultural Exchange proceeds, this
creative collaboration will likely lead to further engagement
among the next generation of filmmakers.
As Morrison explains, “You have all these agreements in the
world, but you need people to know each other and get excited
by a conversation, which might just spark an idea, then leads
to an amazing film. So we are hoping to put people together.
That’s what we are good at; running events, letting people
network with each other and see each other’s work, and be
exposed to different cultures. That’s our program over the next
few years in China.”
The BAFTA programs in China also include the estab-
lishment of master classes and online networking, which
will allow practitioners from both Britain and China to
share experiences.
Increasingly our members
are looking to China as they
develop their art forms.
22
CINEMA

Shanghai
Mathematics
by Duan Xuelian with additions
A
s part of an ongoing exchange project
between the British Department for
Education and the Shanghai Mu-
nicipal Education Commission, two
groups of mathematics teachers from Shanghai
were sent to Britain last November in an attempt
to promote the Chinese method of teaching
maths in the classroom.
The Chinese approach of teaching mathemat-
ics has been welcomed by local teachers and
students, which is being referred to as the
‘Shanghai-style’ of maths. One of its key fea-
tures is the use of precise, technical mathemat-
ics language even when teaching children as
young as seven or eight. Wang Chengjun is an
experienced maths teacher from Shanghai and
taught at the Wroxham School near London as
part of the exchange project.
Wang says British maths teaching methods tend
to have a variety of ways for expressing one
mathematical operation. Wang adds that British
maths teachers have at least 6 ways to express a
single mathematical formula. Instead of provid-
ing a precise function, children in Britain simply
need to express the meaning of the formula. It’s
quite different from in China.
Wang further elaborated upon the differences
in teaching methods with the use of a concrete
example. “When it comes to subtraction,” Wang
says, “you can use an expression like ‘take away’
to refer to a minus sign. You can say take 2
apples way from 5 apples. But you are required
to write down 5 minus 2 equals 3 when it comes to the exact
formula. However, in Britain, you can choose minus, take
away, reduce or deduct to express such an action. This kind
of teaching approach might do little in helping children to
establish a precise conceptual grasp of mathematics.”
Sally Barker is a maths teacher at Wroxham School who
assists her Chinese colleagues in teaching and commu-
nicating with local teachers and students. Sally finds that
her students are enjoying the benefits of the Chinese
teachers’ way of encouraging them to seek out logical and
precise solutions to mathematical problems by them-
selves.
“When they were creating the 10-times table, the chil-
dren had worked with number lines to look that one
lot of 10, two lots of 10. They had all chosen different
ones. And then as a class, they share their findings.
And rather than saying this is how you do your 10
times table -- you’ve got your unit and you add your
zero, it’s like ‘what do you notice?’, and the children
discover the pattern, so it means more to them.”
In addition to the teacher exchange, British publisher
Harper Collins is said to be planning to publish a se-
ries of “Shanghai maths” text books in an effort to pop-
ularise the methods that have allowed maths students
in Shanghai to perform well in the annual Programme
for International Student Assessment.
Instead of providing a precise
function, children in Britain
simply need to express the
meaning of the formula. It’s
quite different from in China.
Wang Chengjun from Shanghai gives a class at Wroxham
School near London
(Photo: CRIENGLISH.com/Duan Xuelian)
Yao Yunfei gives instruction to a student at Wroxham
School near London
(Photo: CRIENGLISH.com/Duan Xuelian)
EDUCATION
In an age of strategies and mission statements,
there can be few universities in the modern age
which do not profess to be “global” or “interna-
tional” in outlook or ambition. If a reputation as
a truly international university is not a reality for
all universities at present, it is at least a goal to
which almost all now aspire to.
There should be no surprise in this. Higher Ed-
ucation is no different from all other sectors - in
that we now all operate in the so-called “global
village” and the entire world is our market place.
However, for the University of Edinburgh, the
focus on creating a truly international place
of learning is nothing new. We have been an
international university since our creation in
1583, attracting staff and students from all four
corners of the world for centuries.
As part of that drive to be regarded as a global
player, China has always been extremely import-
ant to us. We have had strong links with Chinese
students for well over 150 years and in 1855 we
became the first European university from which
a Chinese student graduated - the much cele-
brated Huang Kuan, who left us with a degree in
medicine in 1855.
Since those early days we have built steadily on our
relationship with China in recognition of its global
economic and cultural significance. Our relation-
ship with the country recognises its commitment
to study and academic excellence, producing as it
does some of the world’s finest academics and most
gifted students - across all disciplines.
The year 2005 saw two important milestones
in terms of the University of Edinburgh’s
relationship with China. We became the first
university in Scotland to establish what has
now become a highly successful Confucius
Institute and we also opened our China office.
Based in Beijing, the Office has been run for
the past 10 years by Dr Nini Yang, who herself
was brought up in the Chinese capital, and has an inti-
mate knowledge of the city, the country and its cultural
and educational diaspora.
“China is extremely important to us as a global region,”
she says. “It was the first office overseas which the Uni-
versity of Edinburgh established, to be followed in later
years by similar operations in India, Latin America and
the US. China produces students of a high quality who
genuinely want to come to University to learn and devel-
op themselves; whether that’s in science, medicine or the
arts and humanities. It also has extremely high quality
universities which we look to develop relationships with
for academic collaboration and partnerships; whether
that is in teaching or research.”
The success of the University’s China office speaks for itself.
When it opened in 2005 there were less than 500 Chinese
students enrolled at Edinburgh - there are now almost 2,000
and they make up one of the highest percentages of overseas
students at the University. Since then partnerships with China
have flourished too. Edinburgh now has official links with some
50 leading universities in China either at faculty or university
level and, thanks to its work with the China Scholarship Coun-
cil, can provide scholarships for up to 20 postgraduate students
from China every year.
Examples of the highly successful collaborative partnerships
Edinburgh is involved in with Chinese universities include the
joint low carbon finance centre that has been established with
Peking University Guanghua Management School and, most
recently, the pioneering joint Institute of Biomedical Sciences
with Zhejiang University, launched in May 2016.
Edinburgh now has the highest number of research col-
laborations with Chinese HE institutions of any Scottish
university. On campus in Edinburgh itself, it has a thriving
Chinese Student Association and students from China do
much to add a sense of cultural vibrancy and diversity to the
streets of the Scottish capital. Since the early days of Huang
Kuan in 1855, its links with China have gone from strength
to strength and recently the University marked the contribu-
tion of one of its most celebrated Chinese alumni - Pro-
fessor Zhong Nanshan - for his work on the SARS virus,
with an honorary degree.
“We have much to be proud of, both historically and more
recently, in terms of the way we have developed our links
with China for the good of both our countries, our academics
and our students,” says Dr Yang. “But there is more to be done
and I look forward to the future with confidence for more
progress. The University of Edinburgh is one of the UK’s great
universities with a proud history and an exciting future. It
is a university which covers an incredibly broad range of
academic disciplines and our goal is to make it the first
international choice of people in China - whether they’re
thinking of studying overseas or developing hugely beneficial
academic partnerships abroad.”
The Importance
of China to an
Ancient Scottish
University
Robert Tomlinson, Head of Media and Communi-
cations, Deputy Director of Communications and
Marketing, University of Edinburgh.

26 27MESSENGER MESSENGEROPPORTUNITY
A
mongst the many cultural achieve-
ments that Britain is proud to promote
in China, there is one particular export
that has managed to capture the atten-
tion of the much valued 18-30 year old market
in China, namely the BBC’s adaptation of Sir
Arthur Conan Doyle’s Sherlock Holmes.
Britain, too, shares the obsession; so much so that
a myth-busting exhibition, which explored the
character of the fictional detective, was held at the
Museum of London for an impressive 6 months
between 2014 and 2015. It’s a character that’s been
endlessly adapted while retaining its essence as
a cerebral sleuth, forensic scientist, drug-taking
bohemian and archetypal Englishman. But what is
it that has made the latest adaptation of Sherlock so
popular in China?
The answer lies mostly in the character of Sherlock
himself, and the style in which it is portrayed by
British actor Benedict Cumberbatch. The Museum
of London’s exhibition, which ran from October
2014 until April of this year, put Sherlock Holmes
under the magnifying glass. Many tourists who
visit Britain still see through the eyes of the London
detective, and often seek out the Baker Street ad-
dress he called home.
Through film clips, costumes, Nineteenth Century forensic
equipment and more, the exhibition followed the character of
Holmes from an idea in Conan Doyle’s notebook to the smart
phone-toting modern detective played by Cumberbatch in the
BBC television series.
As for why the Museum of London decided to devote such a
sizeable period of time to the fictional character, the exhibi-
tion’s lead curator, Alex Werner pointed out that, “Sherlock
Holmes is the world’s most famous fictional detective and
there seems to be an incredible interest at the moment in
this character and we felt this was the opportune time to do
it.”
For those fans that were lucky enough to visit the exhibition,
perhaps the most exciting exhibit was a manuscript which
showed how Conan Doyle formulated his main characters. ‘A
Study in Scarlet’ - the first of two short novels which feature
Holmes - shows how at one point the main characters’ names
were under consideration.
Conan Doyle’s first two short novels made little impact, but
when the short stories began to appear in Strand Magazine the
detective became a literary sensation. Regarding the moment at
which Sherlock first comes to fruition, known as the ‘Sherrin-
ford Holmes page’ within the manuscript, Werner notes that,
“this is the moment that we really get the word Holmes for the
first time, but Sherlock hasn’t arrived yet.”
According to historian David Cannadine, what makes
Holmes such an intriguing character is his changeable
persona. “One of the interesting aspects of Holmes is that
he’s this very schizophrenic creation,” Cannadine states. “On
the one side, he’s Superman who can do everything - and
Superman in fact appeared just before the Holmes and Wat-
son stories start - but on the other side, he’s a kind of Oscar
Wilde, decadent and aesthete. And it’s getting work, getting
detection, getting the job to do, that transformed Holmes
from being the wild and decadent aesthete into the ener-
getic and infallible Superman.”
And it is exactly that kind of unpredictable character that
has been taking to the red carpet of late. Benedict Cum-
berbatch has managed to bring ‘Sherlock’ into the Twen-
ty-first Century. And it is here where people asking the
question why Sherlock resonates with Chinese audiences
may find the answer.
The actor’s charm and wit are representations of a very
specific stereotype that seems to abound in China, regarding
the so-called British gentleman. Set aside the apparent drug
addiction and lack of emotional empathy, and Cumberbatch
is basically the modern-day version of the British male ste-
reotype. Add to that the homoerotic undertones between the
two main characters that Chinese audiences are so keen to
infer and you’re on to a winner.
Sherlock Holmes
A Very British
Chinese Obsession
Benedict Cumberbatch and Martin Freeman gained early
success with their depiction of Sherlock on the BBC and are
now recognisable faces in China.
(Photo: China Foto Press/Dave Hogan/Getty Images)
ICON ICON
CHINA

A
s the UK-China Year of Cultural
Exchange reaches its halfway point,
MESSENGER presents the views of
two academics from the respective
countries, assessing the use of cultural activities
as part of achieving foreign policy.
Prof. Gao Jian, deputy director of the British
Studies Centre at Shanghai International Studies
University
The role played by soft power and cultural diplo-
macy in the foreign policy of the UK
In the past few decades, soft power has been
a popular term in political studies. It was first
raised by Joseph Nye, the American scholar.
Highly relative to soft power, we have the term
Cultural Diplomacy; which has been regarded
as one of the important parts in terms of foreign
policy. Previously, especially in the Nineteenth
Century, and in the early part of the Twentieth
Century, the UK used to be a very powerful,
influential nation (both) politically and econom-
ically. However, after the Second World War,
obviously the UK declined politically.
Therefore, Cultural Diplomacy is a very import-
ant policy which was fully adopted previously
(up until) now in the UK’s foreign policy. We all
know they have a very important organisation
named the British Council, which focuses on
the export of language and culture. We all know
English has been a world language, and the UK’s
cultural industry has been regarded as one of the
most leading (examples) in the world. Therefore,
I would like to say Cultural Diplomacy has been
regarded as extremely important and indispens-
able in terms of UK foreign policy.
If Cultural exchange is ongoing, why do we need
a high-profile event at the official level like the
UK-China Year of Cultural Exchange?
The year of cultural exchange is a very good high-
light of the importance of culture. We all know
obviously (there is a) kind of misunderstanding be-
tween Western and Chinese culture. Therefore, in
order to ensure a promising future for the bilateral
relations between China and the UK, we have to
have a better, deeper and more profound mutual understanding
culturally, besides economic and political (relations). So we say
cultural mutual understanding would lay a consolidated foun-
dation for the China-UK bilateral relations’ future.
I would like to say that the Year of Cultural Exchange
would expedite and enhance the deeper and more pro-
found mutual understanding between the UK and China.
Another thing I would like to emphasise is that today we
say culture is business. Today, in terms of the bilateral
relations between the UK and China, business plays an
extremely important role. Therefore, I think the Year of
Cultural Exchange would be very meaningful not only
culturally, but also economically and commercially.
What is your take on the theme “Next Generation” for the
UK activities in China?
The UK is a very experienced country in terms of foreign
policy. Today they focus on the subject of the future,
because they’ve titled it the Next Generation. I think it’s a
very skilful and successful term to describe their strategy.
I would like to elaborate the Next Generation (concept)
from two perspectives.
Number one, if you refer to all the activities hosted by the UK
parties, these are very much characterised by innovation and
creativity. They have creative industries, cultural industries,
design, fashion shows, animation and movie dramas. These
are (examples) of innovation and creativity. The second part I
want to emphasise is that between China and the UK, there’s a
very important program focusing upon the exchange of youth;
called Generation UK.
(The UK) wants to send more and more young students to go
to China and study and work in China in order to get more
familiar with Chinese culture and Chinese people. So, between
the UK and China, we have an agreement that we should focus
on our future and our generation of youngsters would be
extremely important for our future bilateral relationship. So I
think Next Generation is very meaningful as a choice.
The Importance of Royal Figureheads
The visit of Prince William is really a shining part and
should really arouse tremendous interest, not only official-
ly but from the ordinary Chinese people, because Chinese
people have a fantasy about the Royal Family of Britain.
Let me give you an example; do you know which brand in
Britain is the most commercially profitable brand? It’s the
Royal Family.
The Royal Family as a brand in commerce is very market-
able. It’s quite easy for the Royal Family to arouse attention
from the public. It’s really very skilful and successful for the
British Government to choose William as a kind of selling
point to enhance the UK season in China, during their Next
Generation programme.
Chinese Creation is the theme for the second half
of the Year of Cultural Exchange. Will the stereo-
type of China as the “world’s factory” have a nega-
tive impact on efforts to promote Chinese cultural
creativity in the UK?
I agree that previously China’s image very much
related to a “world factory”, or “Made in China”.
I’m not going to deny there’s some kind of nega-
tive impact if we are still going to be regarded as
a country like that. But I would like to say that it
would be very narrow-minded if we have no notice
of China’s progress in high technology and creative
industry in the past few years.
China is not as China was in previous years. If
you refer to some high technology in China, you
will find that actually we have been making a
lot of progress in a lot of creative industries and
hi-tech industries. The programme we are going
to hold in the next few months will be a very im-
portant opportunity and chance for us to modify
and change our national image in terms of being
the world factory.
UK Embracing Chinese Cultural Exports
We should be patient. Sometimes, there are a
lot of stereotyped ideas in terms of the interpre-
tation of China. As far as I know, especially in
the past 4 or 5 years, China’s image in this part
has very much changed. I have articles from
the leading newspapers in the UK that say ‘we
should learn a lot from China in terms of high technology;
because China has made a lot of progress.’ However, I’m not
going to deny that we still have a long way to go and to cov-
er. So, we should be open-minded and we should be active
in the mutual communication.
Gary Rawnsley, Prof. of Public Diplomacy at the Depart-
ment of International Politics, Aberystwyth University, UK
Assessing China’s Soft Power Profile in the UK
I think that China is more visible now in the UK than at any
time in the past. We are more familiar with China; we’re fa-
miliar with Chinese food and cinema. We have thousands of
students from China in the UK now. I think that the British
people are becoming more familiar with China, becoming
more comfortable about interaction with China.
I think that China’s profile is doing very, very well. Soft power
is different. Soft power means that China would be influencing
the way that people think about China and I’m not sure that
there has been enough research yet to understand whether
people’s behaviours and attitudes towards China are changing
because of China’s activities in the UK.
The Pros and cons of Cultural Activities led by Governments
There can be difficulties when these kinds of activities are led
by governments. Whichever government it is, whether it’s Brit-
ish, American, Chinese or whatever, there is often a suspicion
that what is happening is the government is pursuing its own
political agenda. And obviously, then the horrible word of ‘pro-
paganda’ can often arise in terms of those activities.
Cultural Exchange:
The Academic
Opinion
Photo: Tom Eversley
isorepublic.com
29
POLITICS POLITICS
CHINA

30 31MESSENGER MESSENGER 31
At the same time, even with non-governmen-
tal level cultural relations, governmental in-
volvement is important because they are often
the ones that provide the infrastructure for
non-governmental activities to take place; in
terms of arranging things, in terms of visas, in
terms of funding perhaps, in terms of facilitat-
ing some of the exchanges that take place.
I think what we have here is a very direct ex-
ample of how governments can be involved in
cultural relations but they’re not directly pur-
suing a political agenda. I think the fact that
the British Council is also very involved with
this activity shows that this is not as political as
perhaps some people would claim it to be.
Explaining the “Next Generation” Theme
There are multiple ways of understanding the
theme of Next Generation. In purely practical
terms, I think that this demonstrates that
we’re thinking about the next generation of
cultural actors; the next generation of artists,
musicians, cultural actors, the innovators I
think, and the creativity that is now being
seen in the next generation of artists.
I think that we need to remember that public
diplomacy, soft power, cultural diplomacy work
on a long term basis; it’s not something that can
happen overnight. The theme of Next Generation
highlights that very well. What we’re doing is devel-
oping relations between China and the UK for the
next generation of British and Chinese subjects.
We are deepening relations that will be long-lasting
and I think that that’s the most important aspect.
With regard to the Chinese season in the UK as part of the
Year of Cultural exchange, are there barriers to overcome in
terms of the Made in China label?
I think that there are fewer barriers now than there were in the
past. Obviously, China is still seen as the exotic other; it’s seen
as something that is less familiar perhaps than our European
neighbours. People are still a little bit wary of the language for
example, and the cultural barriers to understanding Chinese
cultural products. At the same time, Chinese culture is be-
coming far more popular in the UK than it was before. People
are watching Chinese films in ever greater numbers; Chinese
restaurants are flourishing; we have exhibitions by Chinese artists.
So, I don’t think that there are too many barriers now. I think
people are much more receptive to engaging with foreign
cultural products than at any time in the past. Rather than talk
about barriers, we have to talk about opportunities, and I think
there’s a wonderful opportunity here for deepening relations
between the UK and China on a non-political, cultural level.
Cultural Exchange = Business Opportunities?
I think we’ve already seen the fact that it’s not just about making
money. I think that culture is a vital part of today’s economic
environment. People depend for their jobs on culture. Economies
depend upon cultural exchanges and business can be a very profit-
able byproduct of cultural exchange.
I think that what is happening now is the fact that culture is first
and foremost the priority of our relationship this year in the Year
of Cultural Exchange and business will be a side issue. I don’t think
it’s possible to say that we should be very cynical about this and say
that this is all about profit and business. I think that people who
are not involved in business and not in it to make money will be
engaging both with Chinese and with British cultural products,
and enjoying those cultural products when not making money.
PPhoto: China Foto Press/Rob Stothard/Getty Images
In the year of the first-ever UK-China Year of
Cultural Exchange, what’s new when it comes to
trade cooperation between the two nations?
Dr. Catherine Raines,
Minister at the British
Embassy in Beijing
and Director-General
for UK Trade and
Investment in China
discusses some of the
new trends in Sino-UK economic relations.
British Institutions as a Benchmark
It is true that since 2010, goods exports to China have
morethandoubled.Thisispartlybecausetheeconomies
of China and the UK are kind of converging in the
sensethatthethingsthatwe’rereallygoodatintheUK,
particularly around creativity and innovation, across
all the sectors – not just those sectors that are typically
thought of creative – some of the areas in particular
for example might be healthcare. China ofcoursehas
anenormouspopulationandisveryproud of the fact
that it provides universal healthcare to everybody.
The challenge now for China, I think, is very similar
to that in the UK; you have an ageing population.
Healthcare is an expensive thing to provide. You want
to be able to provide it in a way that is equal for ev-
erybody. The UK has the most fantastic model in the
National Health Service, recently described as the best
healthcare model in the world, and we’re very keen to
share our experience of developing that with China.
So, there are lots of areas where we can collaborate.
Core Competencies of Chinese Enterprises
One of the things that I think is tremendous here is
the innovation and the appetite and the ambition. It’s
one of the things that I first noticed when I came to
Shanghai in 2006; the energy of the place. Everybody
works very, very hard; very diligent. I think people
work very hard in the UK as well, so I think that’s a
really good match. But one of the other things that
I think we have in common, which will be a strong
point for Chinese businesses, is that our creativity is
based on a real respect for our culture.
IwastalkingtothechairwomanofWensli,thebig
(Hangzhou-based)silkcompanytheotherday;wewere
talkingabouthowfantasticitistohavethatcultureun-
derpinningyourcreativityandreallytakethattoanew
BusinessThroughCultureandCultureThroughBusiness
level.WeweretalkingabouthercompanyandIwasdrawingacom-
parisonwithacompanycalledGievesandHawkesintheUK,which
isagentlemen’sfashiondesigncompany.They’redoingasimilarthing;
they’rereallytakingtheverybestofheritagedesignsandputtinga
moderntwist.So,actually,IthinkChinesecompanieswillfinditvery
easytointegratewiththeUKjustbecausewehavethisdeepunder-
standingofculturebutarealdriveandambitiontoputamoderntwist
onitandgoforwardintothe21stCenturywiththat.
Challenges that Chinese Companies Face in the UK
Of course, any country that is a long way away and has different
systems, then you have to get to know those systems. And you
have to be aware of what the market is, and you have to be aware
of how to operate in that market; different culture, different rules.
One of example of the cultural differences that I can give you is
that public relations are very, very important in the west. It’s less
important here in China. So there are differences like that.
We’ve got a great scheme at the moment at one of our universities
in the UK. Chinese students are now being given placements in
UK companies and the reason we’re doing that is because we want
to try to get over the problem that are inherent in the question (of
what challenges Chinese companies face). We think that if Chinese
studentsgotoworkinBritishcompanies,thenthat’sarealwin-win.
The Chinese students will learn about what it’s like to work in a
British company, and the British company will get the benefit of
having a Mandarin speaking employee that also understands the
Chinese way of doing business; so everybody benefits from that.
There are 135,000 Chinese students in the UK, more than any
other foreign nationality actually, where we’re really getting this
fantastic cross-collaboration between our two cultures, between
our two nations. I really believe that education is hugely important.
Cultural Exchange in 2015
We were talking about education and how important that is.
Cultural exchange is the same really. It’s almost the twin, if you
like, of education because it’s the other way that we can really
share experiences together; really get to know one another. The
cultures are different and it’s very important to be respectful
of those cultures. But there’s a famous saying about friendship
first, business second. So I think culture, it’s sometimes referred
to as soft power.
I don’t really always like that quite so much, because it makes
it sound like a power thing, which I don’t think it is. I think
it’s a relationships thing actually. The more that we can have
really great, really constructive relationships and friendships,
and many of those are created over cultural activities, it will
really help us in a number of ways. It will help us do business
through culture and culture through business; it’s both.
BUSINESS

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